Is There an Apocalypse in Unscripted?
Jonathan Glazier FRSA
TV Format & Media Consultant | AI & Future Media Specialist | FAST Channel Strategist | Production & Storytelling Expert | Dyslexia & AI Advocate | Bridging Creativity & Technology
The phrase "the apocalypse of unscripted" is gaining traction, particularly as industry veterans like Stephen D. Wright signal the death of paper formats. Unscripted television, once the cash cow of broadcasters, faces an existential crisis. Is it just another cycle, or is something deeper at play?
The Risk-Averse Age: Are Paper Formats Dead?
For years, paper formats—concepts sold before a pilot or series is produced—were the lifeblood of unscripted innovation. Today, that market has all but collapsed. Broadcasters and streamers now demand:
- Proven success in one territory before global rollout.
- Pre-attached celebrity talent or major production backing.
- A clear viral or social media hook to ensure engagement.
The result? Many new ideas struggle to get traction. Networks, worried about financial instability, prefer tried-and-tested legacy formats over fresh risks.
Legacy Formats: A Blessing and a Curse
In a world where even scripted television is facing cutbacks, legacy unscripted formats remain a reliable investment. Shows like Big Brother, Survivor, The Traitors, and The Masked Singer continue to dominate schedules worldwide. While these formats bring stability, they also create a closed loop, where broadcasters prefer to refresh existing brands rather than take chances on the unknown.
At the same time, some of the biggest recent format hits have come from international innovation, particularly from Europe and Asia, rather than the traditional UK/US format hubs.
Where Are the New Formats Coming From?
Despite fears of stagnation, innovative formats are emerging—but they aren’t necessarily coming from the usual places.
Europe: The Last Stronghold for Risk?
- The Traitors (Netherlands) – Originally launched in the Netherlands, the format exploded internationally, proving that clever gameplay-driven formats still work.
- The Genius (Korea → Netherlands) – The Dutch adaptation of this Korean psychological strategy game highlights a growing pipeline from Asia to Europe.
- Million Dollar Island (Netherlands) – Developed by Talpa, this format was a fresh survival twist, though its reception was mixed in the US.
Asia: The New Format Powerhouse
- Physical: 100 (South Korea) – Netflix’s smash-hit reality competition show proved that high-stakes physical contests with cinematic production values could go global.
- The Devil’s Plan (South Korea) – A blend of reality and game theory, showing that Korean unscripted concepts continue to set global trends.
- The Wall Duet (Thailand) – An inventive take on the singing format that is now traveling internationally.
Beyond UK/US: Experimentation in Emerging Markets
- Mexico & Brazil – La Casa de los Famosos (a spin-off of Big Brother VIP) dominates in Latin America and Spanish-language US markets.
- MENA (Middle East & North Africa) – Saudi Arabia’s MBC is investing heavily in premium unscripted content, including local versions of global hits.
- China – Despite government restrictions, the country continues to develop large-scale reality shows with high production value.
Capturing and Exploiting New Ideas: Who’s Investing in Innovation?
With traditional networks playing it safe, the hunt for fresh unscripted concepts has moved to alternative platforms and funding schemes.
FAST Channels & Digital Experimentation
- YouTube & TikTok Reality Shows – Influencers and content creators are launching their own reality series, such as MrBeast’s Beast Games, which outperformed many network productions in engagement.
- FAST (Free Ad-Supported Streaming TV) – Platforms like Pluto TV, Samsung TV+, and Roku Originals are commissioning lower-cost reality and documentary formats.
Format Incubators & Global Competitions
To counteract stagnation, several initiatives outside the US/UK are fostering new ideas:
- Banijay & Talpa’s Global Development Funds – European-based companies are offering financial backing to nurture new formats from around the world.
- MIPFormats Pitch (Cannes) – Continues to showcase early-stage unscripted concepts, often from smaller territories.
- Singapore Media Development Authority (IMDA) – Investing in Asian format development, positioning the region as a format exporter rather than just a buyer.
Is There Hope for Unscripted?
The industry isn’t dead—but it is shifting. While the UK and US remain risk-averse, Europe, Asia, and emerging markets are capitalizing on the void. The next big format may not come from a traditional broadcaster at all—it could emerge from digital-first platforms, streaming services, or incubator-backed innovation schemes.
For creatives and producers, the challenge is clear: adapt to the new reality, or risk being left behind.
What do you think? Are legacy formats squeezing out innovation, or is the next big thing just waiting to break through? Join the conversation.
Here’s the structured news segment for this week’s Alt.media newsletter:
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This Week in TV & Film: 14–21 March 2025
A round-up of the latest commissions, productions, and industry developments from the UK, US, Europe, and Asia.
?? TELEVISION NEWS
UK: BBC’s ‘River City’ Cancellation Sparks Backlash
The BBC has announced that River City, its long-running Scottish soap opera, will conclude in Autumn 2026 after 24 years on air. The decision has triggered backlash from industry professionals and fans, with concerns over the impact on Scottish talent. While the BBC plans to reinvest its ￡9 million budget into three new drama series, critics argue that local representation will suffer.
US: ‘School Spirits’ Renewed for Season 3 on Paramount+
Supernatural drama School Spirits has secured a third season on Paramount+. Starring Peyton List as a high school student navigating the afterlife, the show has built a strong fanbase. The upcoming season is set to delve deeper into the mysteries of the ghostly world and resolve major cliffhangers.
US: AVP Secures Broadcast Deal with CBS Sports and The CW
The Association of Volleyball Professionals (AVP) has landed a major TV deal with CBS Sports and The CW, bringing beach volleyball to a wider audience. The multi-year deal kicks off in May, with live coverage expected to boost the sport’s profile across the US.
US: Taylor Sheridan’s Influence Boosts Texas Film & TV Industry
Yellowstone creator Taylor Sheridan’s latest TV show, Landman, has reinvigorated Texas as a production hub. With Landman attracting 35 million global viewers, state leaders are pushing for a $500 million tax incentive package to draw more productions to Texas.
UK: Amy James-Kelly Joins BBC Drama ‘Industry’
Former Coronation Street actress Amy James-Kelly has joined the cast of Industry, the BBC’s financial drama. She will play Jennifer Bevan, a newly promoted government minister. Production on Season 4 begins this month.
Asia: Hong Kong International Film Festival Expands TV Section
The 49th Hong Kong International Film Festival is spotlighting television for the first time, featuring high-profile Asian dramas and streaming hits. The move reflects the growing crossover between film and high-budget streaming series in Asia.
?? FILM NEWS
US: Village Roadshow Files for Bankruptcy Amid Legal Struggles
Village Roadshow Entertainment Group, known for The Matrix and Joker, has filed for bankruptcy due to ongoing legal battles with Warner Bros. The company plans to sell its film library for $365 million to Content Partners.
US: SXSW 2025 Wraps with a Strong Slate of Premieres
This year’s South by Southwest (SXSW) Film & TV Festival in Austin, Texas, showcased a diverse lineup, opening with Another Simple Favor and closing with On Swift Horses. Other notable films included The Accountant 2 and Ash, reflecting strong demand for both indie and mainstream productions.
China: ‘Ne Zha 2’ Becomes Highest-Grossing Animated Film Ever
Chinese animated blockbuster Ne Zha 2 has surpassed $2 billion at the global box office, making it the highest-grossing animated film of all time. This milestone marks a major win for China’s animation industry on the global stage.
That’s it for this week’s roundup! Stay tuned for next week’s latest in TV and film.
Jonathan Glazier
#UnscriptedTV #TVIndustry #FormatCrisis #RealityTV #StreamingWars #MediaInnovation #altmedia #PaperFormats #TVProduction #GlobalTV #EntertainmentTrends #BroadcastFuture
CEO @ Triforce Entertainment | Immersive Content Creator, Brand Activation, scripted & non-scripted content IP and production
6 天前The talent pool for creating unscripted formats need to come from elsewhere…
Media Relations Training | Documentary Podcast Production | PR | Presentation Skills Training
1 周Scripted Reality is the lucrative format everyone wants.
Media Relations Training | Documentary Podcast Production | PR | Presentation Skills Training
1 周I consider The Masked Singer the epitome of the modern scripted format. What part of it is unscripted?
Voiceover, broadcaster, live event / award ceremony / online event host. Gameshows / Entertainment television, a particular speciality. Your hair’s looking LOVELY today.
1 周Of course I would say this, but I truly think that “legacy TV” now needs to concentrate on finding exemplary on screen talent. People USED to tune in to see “that thing” with Bob Monkhouse / Bruce Forsyth / Michael Barrymore etc. I mean, look at the latter - The format was almost redundant when it came to Michael. People watched for HIM. Nowadays, it’s only really Ant and Dec who come near having the same kind of pull - And even they can have stinkers (Push The Button / Red Or Black). I truly believe that the Beeb / ITV et al, need to concentrate on a true alternative to the streamers - Starting with proper family shows that ALL the family really can sit down, enjoy and have a laugh at… Hosted by talent which has been discovered, hunted down, honed and probably something else beginning with H. This is something streamers don’t and won’t do. A top producer (who might well see this post as we’re besties now) used a phrase about TV personalities “coming through the screen”. Who truly does that nowadays? Some rub their nose against it, but nobody breaks the glass. That’s what we’re lacking. In a business that’s all about connecting with the viewers, I can’t help thinking that this is a major part of what’s going wrong with TV.
I help high-achievers in media advance their careers and grow revenue in just six months. Our industry is changing. I help you thrive. Indie Founder | ITVS Director of Formats | Weekly Column in The Hollywood Reporter
1 周It’s clear that broadcasters are more risk-averse, but has the definition of risk itself changed? It’s no longer just about budget—it’s about the risk of irrelevance. With audiences able to watch anything, anytime, networks aren’t just looking for proven formats; they need guaranteed attention. That’s why nostalgia, existing IP, and known brands dominate. But if risk and relevance are now the same thing, should creators be thinking about who they’re pitching to? Are brands, platforms, and new media players now the next buyers of fresh formats?